MUSIC

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Rise Against Addresses the Nowhere Generation

Rise Against Addresses the Nowhere Generation e band’s long-awaited tour to promote its 2021 album Nowhere Generation is worth the drive to Cleveland. Rise Against Addresses the Nowhere Generation e band’s long-awaited tour to promote its 2021 album Nowhere Generation is worth the drive to Cleveland. e band’s long-awaited tour to promote its 2021 album Nowhere Generation is worth the drive to Cleveland. BY ALAN SCULLEY

BY ALAN SCULLEY BY ALAN SCULLEY

Rise Against

PHOTO: JASON SIEGEL Rise Against

Rise Against recently returned from a European tour where things didn’t always go smoothly.

One thing singer-guitarist Tim McIlrath noticed was that the band and crew reacted di erently to mishaps during those dates than they would have in prepandemic times. To him, it illustrated how musicians more than ever appreciate simply being able to tour and make music again.

“It’s like everything from at tires to food poisoning, all kinds of stu went wrong,” McIlrath explains in a mid-July phone interview. “But it didn’t seem to matter as much to my band and my crew this year than it would have mattered like ve years ago. It seemed like everybody kind of saw the obstacle in front of them when it would happen, whether it was a at tire or food poisoning or whatever, and they just kind of said ‘You know what, let’s gure this out. … Compared to a global pandemic, we’ll gure out a at tire. And we’re going to survive and move beyond. Everything got put into perspective a little bit.”

As part of its e ort to move beyond, Rise Against is set to play the Jacobs Pavilion at Nautica in Cleveland on Wednesday, Aug. 17. e band is headlining a package tour that also includes the Used and Senses Fail.

For McIlrath and his bandmates, bassist Joe Principe, drummer Brandon Barnes and lead guitarist Zach Blair, the pandemic actually came at a rather opportune time. ey had nished recording the 16 songs that make up their 2021 full-length album, Nowhere Generation, and their newly released companion EP, Nowhere Generation II. Normally, a new album would be followed by an extensive tour cycle, but the COVID-19 pandemic intervened, providing a key bene t to the band.

“For our band, I felt like the live music closing down for a couple of years was a good thing for us. It was the break we always talked about, but never would [take],” McIlrath says. “ at never really happened, partially because there would be some great opportunities that would come our way, and we’d have trouble saying no to them. Next thing you know, we’re just back in the studio writing songs.

“In that sense, I felt like it was a good thing for us because we needed that time [o ],” he adds. “And then in that time, what happened is kind of what I hoped a sabbatical would have produced, which is we came back to this thing with like this renewed enthusiasm, and this appreciation of it all.”

Rise Against had certainly earned the right to take a break by the time the pandemic hit in spring 2020. Since forming in 1999 in Chicago, the band has released nine full-length albums and toured extensively between releases.

In uenced by hardcore groups such as Fugazi and Minor reat and the punk rock of bands like Bad Religion and Pennywise, Rise Against’s sound has remained largely intact – even if the group’s compelling brand of music has expanded to embrace the occasional rocker with a more deliberate tempo or an outright ballad. e 11 songs on the Nowhere Generation full-length and the ve songs on Nowhere Generation II generally t the punk mold with their robust guitar ri s and strong melodies. e two albums also continue the Rise Against tradition of featuring topical and political themes and lyrics. In the case of these two releases, McIlrath — the band’s lyricist — wanted to give a voice especially to younger adults who feel the American dream is getting out of reach, as hopes of home ownership and a comfortable retirement become harder to achieve for middle class Americans, not to mention the poor.

McIlrath explains how he came to think about the predicament many young adults face and how any failures to experience the American dream weren’t because of a lack of e ort, brains or ambition.

“I feel like it was partially being a guy in his 40s and sitting around a dinner table where people like to poke fun at millennials and that kind of thing,” he says. “And I sat through enough of those

PHOTO: JASON SIEGEL

jokes where I was like, ‘I hear your joke. R ise Against recently returned from a European tour where things didn’t always go I hear where you’re coming from. But I can’t square that with my [experience as a] young man. I can’t square it with the smoothly. complaints they have about the future

One thing singer-guitarist Tim McIl- of the world. I feel like they may have rath noticed was that the band and crew some valid complaints here.’ … is reacted di erently to mishaps during isn’t simply a matter of pulling yourself those dates than they would have in pre- up by your own bootstraps. ere are pandemic times. To him, it illustrated new and improved obstacles that are in how musicians more than ever appreci- their way. I felt like my generation was a ate simply being able to tour and make little blind to that.” music again. McIlrath and his bandmates are get-

“It’s like everything from at tires to ting to share a few of the new songs and food poisoning, all kinds of stu went their messages on tour in the states this wrong,” McIlrath explains in a mid-July summer. While excited to play shows, phone interview. “But it didn’t seem to there is a challenge that gets more matter as much to my band and my crew daunting as time goes on. this year than it would have mattered “ e more records we make, the like ve years ago. It seemed like every- more songs we write, we’re still working body kind of saw the obstacle in front of that same size of the parking lot, but we them when it would happen, whether just keep on making new cars. We’ve it was a at tire or food poisoning or still got to t the same amount of cars in whatever, and they just kind of said ‘You that parking lot. So yeah, it gets tricky,” know what, let’s gure this out. … Com- McIlrath says. “ ere’s probably a core pared to a global pandemic, we’ll gure of a set that Rise Against will always out a at tire. And we’re going to survive play, and then there’s probably like a and move beyond. Everything got put fourth of it that we kind of tinker with, into perspective a little bit.” just try [di erent songs] and see what

As part of its e ort to move beyond, people are into.” Rise Against is set to play the Jacobs Pavilion at Nautica in Cleveland on Wednesday, Aug. 17. e band is headlining a package tour that also includes the Used and Senses Fail.

For McIlrath and his bandmates, bassist Joe Principe, drummer Brandon Barnes and lead guitarist Zach Blair, the pandemic actually came at a rather opportune time. ey had nished recording the 16 songs that make up their 2021 full-length album, Nowhere Generation, and their newly released companion EP, Nowhere Generation II. Normally, a new album would be followed by an extensive tour cycle, but the COVID-19 pandemic intervened, providing a key bene t to the band. “For our band, I felt like the live music closing down for a couple of years was a good thing for us. It was the break we always talked about, but never would [take],” McIlrath says. “ at never really happened, partially because there would be some great opportunities that would come our way, and we’d have trouble saying no to them. Next thing you know, we’re just back in the studio writing songs. “In that sense, I felt like it was a good thing for us because we needed that time [o ],” he adds. “And then in that time, what happened is kind of what I hoped a sabbatical would have produced, which is we came back to this thing with like this renewed enthusiasm, and this appreciation of it all.” Rise Against had certainly earned the right to take a break by the time the pandemic hit in spring 2020. Since forming in 1999 in Chicago, the band has released nine full-length albums and toured extensively between releases. In uenced by hardcore groups such as Fugazi and Minor reat and the punk rock of bands like Bad Religion and Pennywise, Rise Against’s sound has remained largely intact – even if the group’s compelling brand of music has expanded to embrace the occasional rocker with a more deliberate tempo or an outright ballad. e 11 songs on the Nowhere Generation full-length and the ve songs on Nowhere Generation II generally t the punk mold with their robust guitar ri s and strong melodies. e two albums also continue the Rise Against tradition of featuring topical and political themes and lyrics. In the case of these two releases, McIlrath — the band’s lyricist — wanted to give a voice especially to younger adults who feel the American dream is getting out of reach, as hopes of home ownership and a comfortable retirement become harder to achieve for middle class Americans, not to mention the poor. McIlrath explains how he came to think about the predicament many young adults face and how any failures to experience the American dream weren’t because of a lack of e ort, brains or ambition. “I feel like it was partially being a guy in his 40s and sitting around a dinner table where people like to poke fun at millennials and that kind of thing,” he says. “And I sat through enough of those

Rise Against PHOTO: JASON SIEGEL R ise Against recently returned from a European tour where things didn’t always go jokes where I was like, ‘I hear your joke. smoothly. I hear where you’re coming from. But I

One thing singer-guitarist Tim McIl- can’t square that with my [experience as rath noticed was that the band and crew a] young man. I can’t square it with the reacted di erently to mishaps during complaints they have about the future those dates than they would have in pre- of the world. I feel like they may have pandemic times. To him, it illustrated some valid complaints here.’ … is how musicians more than ever appreci- isn’t simply a matter of pulling yourself ate simply being able to tour and make up by your own bootstraps. ere are music again. new and improved obstacles that are in

“It’s like everything from at tires to their way. I felt like my generation was a food poisoning, all kinds of stu went little blind to that.” wrong,” McIlrath explains in a mid-July McIlrath and his bandmates are getphone interview. “But it didn’t seem to ting to share a few of the new songs and matter as much to my band and my crew their messages on tour in the states this this year than it would have mattered summer. While excited to play shows, like ve years ago. It seemed like every- there is a challenge that gets more body kind of saw the obstacle in front of daunting as time goes on. them when it would happen, whether “ e more records we make, the it was a at tire or food poisoning or more songs we write, we’re still working whatever, and they just kind of said ‘You that same size of the parking lot, but we know what, let’s gure this out. … Com- just keep on making new cars. We’ve pared to a global pandemic, we’ll gure still got to t the same amount of cars in out a at tire. And we’re going to survive that parking lot. So yeah, it gets tricky,” and move beyond. Everything got put McIlrath says. “ ere’s probably a core into perspective a little bit.” of a set that Rise Against will always

As part of its e ort to move beyond, play, and then there’s probably like a Rise Against is set to play the Jacobs fourth of it that we kind of tinker with, Pavilion at Nautica in Cleveland on just try [di erent songs] and see what Wednesday, Aug. 17. e band is head- people are into.” lining a package tour that also includes the Used and Senses Fail.

For McIlrath and his bandmates, bassist Joe Principe, drummer Brandon Barnes and lead guitarist Zach Blair, the pandemic actually came at a rather opportune time. ey had nished recording the 16 songs that make up their 2021 full-length album, Nowhere Generation, and their newly released companion EP, Nowhere Generation II. Normally, a new album would be followed by an extensive tour cycle, but the COVID-19 pandemic intervened, providing a key bene t to the band. “For our band, I felt like the live music closing down for a couple of years was a good thing for us. It was the break we always talked about, but never would [take],” McIlrath says. “ at never really happened, partially because there would be some great opportunities that would come our way, and we’d have trouble saying no to them. Next thing you know, we’re just back in the studio writing songs. “In that sense, I felt like it was a good thing for us because we needed that time [o ],” he adds. “And then in that time, what happened is kind of what I hoped a sabbatical would have produced, which is we came back to this thing with like this renewed enthusiasm, and this appreciation of it all.” Rise Against had certainly earned the right to take a break by the time the pandemic hit in spring 2020. Since forming in 1999 in Chicago, the band has released nine full-length albums and toured extensively between releases. In uenced by hardcore groups such as Fugazi and Minor reat and the punk rock of bands like Bad Religion and Pennywise, Rise Against’s sound has remained largely intact – even if the group’s compelling brand of music has expanded to embrace the occasional rocker with a more deliberate tempo or an outright ballad. e 11 songs on the Nowhere Generation full-length and the ve songs on Nowhere Generation II generally t the punk mold with their robust guitar ri s and strong melodies. e two albums also continue the Rise Against tradition of featuring topical and political themes and lyrics. In the case of these two releases, McIlrath — the band’s lyricist — wanted to give a voice especially to younger adults who feel the American dream is getting out of reach, as hopes of home ownership and a comfortable retirement become harder to achieve for middle class Americans, not to mention the poor. McIlrath explains how he came to think about the predicament many young adults face and how any failures to experience the American dream weren’t because of a lack of e ort, brains or ambition. “I feel like it was partially being a guy in his 40s and sitting around a dinner table where people like to poke fun at millennials and that kind of thing,” he says. “And I sat through enough of those jokes where I was like, ‘I hear your joke. I hear where you’re coming from. But I can’t square that with my [experience as a] young man. I can’t square it with the complaints they have about the future of the world. I feel like they may have some valid complaints here.’ … is isn’t simply a matter of pulling yourself up by your own bootstraps. ere are new and improved obstacles that are in their way. I felt like my generation was a little blind to that.” McIlrath and his bandmates are getting to share a few of the new songs and their messages on tour in the states this summer. While excited to play shows, there is a challenge that gets more daunting as time goes on. “ e more records we make, the more songs we write, we’re still working that same size of the parking lot, but we just keep on making new cars. We’ve still got to t the same amount of cars in that parking lot. So yeah, it gets tricky,” McIlrath says. “ ere’s probably a core of a set that Rise Against will always play, and then there’s probably like a fourth of it that we kind of tinker with, just try [di erent songs] and see what people are into.”

Rise Against will perform at 7 p.m. Aug. 17 at Jacobs Pavilion at Nautica, Rise Against will perform at 7 p.m. Aug. 17 at Jacobs Pavilion at Nautica, 2014 Sycamore St., Cleveland. e Used and Senses Fail will open Rise Against will perform at 7 p.m. Aug. 17 at Jacobs Pavilion at Nautica, 2014 Sycamore St., Cleveland. 2014 Sycamore St., Cleveland. e Used and Senses Fail will open the show. Info: jacobspavilion.com. the show. Info: jacobspavilion.com. e Used and Senses Fail will open the show. Info: jacobspavilion.com. AUGUST 10-23, 2022 | CITYBEAT.COM 35

SOUND ADVICE SOUND ADVICE

Sleigh Bells

PHOTO: CHRIS VULTAGGIO Sleigh Bells

SLEIGH BELLS WITH N3PTUNE August 13 • Taft eatre

e cover of Sleigh Bells’ most recent album, 2021’s Texis, features a blackand-white image of singer Alexis Krauss at age 11. She looks directly into the camera as if posing for a school photo and sports a slightly mischievous smile, a bob haircut and a twinkle in her eye, as if she knows far more than she should. It’s a curious visage, at once innocent and oddly subversive – a tting encapsulation of what Sleigh Bells has perpetrated on listeners for more than a decade now.

Krauss and guitarist Derek Miller founded the band in Brooklyn, N.Y., in the late aughts as an alternative to neighborhood’s indie rock brethren — massive, hooky songs driven by Miller’s crunchy ri s, a booming drum machine and Krauss’ voice, a modest but cutting soprano. Miller is the main songwriter, a crafter of noisy anthems informed by everything from pop culture detritus to more personal elements. But don’t think Krauss isn’t a vital part of the process.

“I write all the lyrics, but Alexis does have all the freedom in the world to arrange them however she sees t,” Miller said in a 2021 interview with Paste Magazine. “And I am usually blown away by the way she does it, because I’ll send her something, just a block of text, and she’ll pick out the chorus and say, ‘ is is the verse.’ While in my mind, it was actually the inverse, so that’s actually my favorite part of the process. I mean, writing is a blast, but then hearing what she does with it is the most exciting moment for me.” ere’s a clean, almost surgical, element to the duo’s music — the synth stabs and snappy drums that open Texis’ rst song “SWEET75” bring to mind the soundtrack to a glitchy video game. en a sticky Miller ri and Krauss’ vocals kick in as she insists, “Here we go, here we go/You’re legitimate rock and roll.”

Sleigh Bells’ overblown tunes are just as large in a live setting, as the imposing Krauss stalks the stage front and center while Miller, a drummer and a keyboardist/backing singer heighten

PHOTO: CHRIS VULTAGGIO SLEIGH BELLS

WITH N3PTUNE August 13 • Taft eatre

e cover of Sleigh Bells’ most recent album, 2021’s Texis, features a blackand-white image of singer Alexis Krauss at age 11. She looks directly into the camera as if posing for a school photo and sports a slightly mischievous smile, a bob haircut and a twinkle in her eye, as if she knows far more than she should. It’s a curious visage, at once innocent and oddly subversive – a tting encapsulation of what Sleigh Bells has perpetrated on listeners for more than a decade now.

Krauss and guitarist Derek Miller founded the band in Brooklyn, N.Y., in the late aughts as an alternative to neighborhood’s indie rock brethren — massive, hooky songs driven by Miller’s crunchy ri s, a booming drum machine and Krauss’ voice, a modest but cutting soprano. Miller is the main songwriter, a crafter of noisy anthems informed by everything from pop culture detritus to more personal elements. But don’t think Krauss isn’t a vital part of the process. “I write all the lyrics, but Alexis does have all the freedom in the world to arrange them however she sees t,” the studio e orts just by their human presence. Sleigh Bells plays Taft eatre at 9 p.m. Aug. 13. Doors open at 8 p.m. Guests must show proof of vaccination or a negative COVID-19 test for entry. Info: tafttheatre.com. (Jason Gargano) Miller said in a 2021 interview with Paste Magazine. “And I am usually blown away by the way she does it, because I’ll send her something, just a block of text, and she’ll pick out the chorus and say, ‘ is is the verse.’ While in my mind, it was actually the inverse, so that’s actually my favorite part of the process. I mean, writing is a blast, but then hearing what she does with it is the most exciting moment for me.” ere’s a clean, almost surgical, element to the duo’s music — the synth stabs and snappy drums that open Texis’ rst song “SWEET75” bring to mind the soundtrack to a glitchy video game. en a sticky Miller ri and Krauss’ vocals kick in as she insists, “Here we go, here we go/You’re legitimate rock and roll.” Sleigh Bells’ overblown tunes are just as large in a live setting, as the imposing Krauss stalks the stage front and center while Miller, a drummer and a keyboardist/backing singer heighten the studio e orts just by their human presence. Sleigh Bells plays Taft eatre at 9 p.m. Aug. 13. Doors open at 8 p.m. Guests must show proof of vaccination or a negative COVID-19 test for entry. Info: tafttheatre.com. (Jason Gargano)

Built to Spill: Doug Martsch (left), Melanie Radford and Teresa Cruces

PHOTO: PROVIDED BY WOODWARD THEATRE Built to Spill: Doug Martsch (left), Melanie Radford and Teresa Cruces

PHOTO: PROVIDED BY WOODWARD THEATRE

BUILT TO SPILL WITH PRISM BITCH AND SCRUNCHIES August 22 • e Woodward eater

Built to Spill endures, which should come as a surprise to no one. e Idaho-spawned act has exceeded most of its early-1990s indie-rock

contemporaries behind a timeless sound centering on frontman Doug Martsch’s ragged guitar heroics, which recall Neil Young on a J. Mascis kick. And now, after years as a ve-piece out t, Built to Spill has pared back to a trio with drummer Teresa Cruces BUILT TO SPILL and bassist Melanie Radford for recent WITH PRISM BITCH tours, including the current jaunt. AND SCRUNCHIES “We weren’t really making enough August 22 • e Woodward eater Built to Spill endures, which should come as a surprise to no one. e Idaho-spawned act has exceeded most of its early-1990s indie-rock money to support six people, with our sound guy being part of our money split,” Martsch said in a recent interview with e Providence Journal. “Having it back to being three people makes a big di erence, and it’s also artistically ful lling. It’s fun to do it

contemporaries behind a timeless sound centering on frontman Doug Martsch’s ragged guitar heroics, which recall Neil Young on a J. Mascis kick. And now, after years as a ve-piece out t, Built to Spill has pared back to a trio with drummer Teresa Cruces and bassist Melanie Radford for recent tours, including the current jaunt.

“We weren’t really making enough money to support six people, with our sound guy being part of our money split,” Martsch said in a recent interview with e Providence Journal. “Having it back to being three people makes a big di erence, and it’s also artistically ful lling. It’s fun to do it

Jakob Dylan of The Wall owers

PHOTO: SYDKAT, WIKIMEDIA COMMONS Jakob Dylan of The Wall owers

PHOTO: SYDKAT, WIKIMEDIA COMMONS that way. … I actually really enjoy that way. … I actually really enjoy the pressure it puts on me as a guitar player.” “Gonna Lose,” the lead track on the band’s forthcoming ninth studio album, When the Wind Forgets Your Name, is an uncommonly taut guitar ditty featuring this admission from Martsch: “I’ve come to realize time’s all wrong/Answers materialize then they’re gone/ ey were here, but the ones like that disappear/And they don’t come back.” Elsewhere, the spacier “Spiderweb” recalls Built to Spill’s late-’90s heyday, merging the psych-tinged guitar workouts of 1997’s Perfect from Now On with the sleeker, hook-laden elements of 1999’s Keep it Like a Secret. Perhaps best of all is “Understood,” yet another excursion in Martsch’s long-running search for clarity, made all the more poignant through the now 52-yearold’s modest whine of a voice and soaring guitar leads: “ ere’s no way to gure it out/Life’s just understood.” e current tour pulls songs from every era of the band’s 30-year history, which is a variation on a theme that time can’t contain. Built to Spill plays Woodward eater at 7 p.m. Aug. 22. Doors open at 6 p.m. ere are no COVID-19 protocols in place for the event. Info: woodwardthe pressure it puts on me as a guitar player.” “Gonna Lose,” the lead track on the band’s forthcoming ninth studio album, When the Wind Forgets Your Name, is an uncommonly taut guitar ditty featuring this admission from Martsch: “I’ve come to realize time’s all wrong/Answers materialize then they’re gone/ ey were here, but the ones like that disappear/And they don’t come back.” Elsewhere, the spacier “Spiderweb” recalls Built to Spill’s late-’90s heyday, merging the psych-tinged guitar workouts of 1997’s Perfect from Now On with the sleeker, hook-laden elements of 1999’s Keep it Like a Secret. Perhaps best of all is “Understood,” yet another excursion in Martsch’s long-running search for clarity, made all the more poignant through the now 52-yearold’s modest whine of a voice and soaring guitar leads: “ ere’s no way to gure it out/Life’s just understood.” e current tour pulls songs from every era of the band’s 30-year history, which is a variation on a theme that time can’t contain. Built to Spill plays Woodward eater at 7 p.m. Aug. 22. Doors open at 6 p.m. ere are no COVID-19 protocols in place for the event. Info: woodwardtheater.com. (JG) theater.com. (JG)

THE WALLFLOWERS THE WALLFLOWERS August 23 • Ludlow Garage

If you think it’s intimidating being compared to Bob Dylan, imagine being born with his face, voice and name. e sound of critics sharpening their knives was deafening in 1992 when Bob’s son, Jakob Dylan,

released his eponymous debut album with the Wall owers, but those critical knives were sheathed when Dylan’s band proved to be a jammy roots rock powerhouse and Dylan himself a compelling songwriter and frontman. e band’s 1996 sophomore album Bringing Down the Horse yielded the song “One Headlight,” which earned the Wall owers a Grammy win for Best Rock Performance by a Duo or Group with Vocal. Over the subsequent three decades, the Wall owers has been a revolving cast of amazing talent with Dylan at its sporadic core. Although the band was shuttered for a spell while Dylan explored a solo direction, he has noted in interviews that the Wall owers and his solo work are separated only by his sonic choices in the studio and the songs he brings to each project. e band, regardless of personnel, is re ective of his creative identity, he’s said. Last year saw the release of the Wall owers’ seventh album, the much lauded Exit Wounds, but the tour joined the sad roll call of COVID postponements until 2022. e band’s full set list typically has featured a half-dozen songs from Exit Wounds; beyond that, it’s slanted heavily toward Bringing Down the Horse and its follow-up, 2000’s (Breach), with tracks from 2005’s Rebel, Sweetheart, a song from Dylan’s solo catalog and a couple of Tom Petty covers. e homage to Petty is not surprising, considering Mike Campbell is a former member of Tom Petty and the Heartbreakers and lled in on guitar during the Bringing Down the Horse sessions. e current touring version of the Wall owers is a stacked deck of familiar names, including longtime live guitarist Stanton Edward Adcock and three of Dylan’s studio compatriots from Exit Wounds: bassist Wijnand (“Whynot”) Jansveld, keyboardist Aaron Embry and drummer Mark Stepro. Rounding out the band is guitarist/pedal-and-lap steel master Ben Peeler, whose association with Dylan and the band goes back to 2002’s Red Letter Days. But, as Dylan August 23 • Ludlow Garage If you think it’s intimidating being compared to Bob Dylan, imagine being born with his face, voice and name. e sound of critics sharpening their knives was deafening in 1992 when Bob’s son, Jakob Dylan, has so de nitively pointed out, no matter who stands on the stage or in the studio, as long as he commands the space, it’s the Wall owers. e Wall owers play Ludlow Garage at 8 p.m. Aug. 23. Doors open at 7 p.m. ere are no COVID-19 protocols in place for the event. Info: ludlowgaragecincinnati.com. (Brian Baker)

released his eponymous debut album with the Wall owers, but those critical knives were sheathed when Dylan’s band proved to be a jammy roots rock powerhouse and Dylan himself a compelling songwriter and frontman. e band’s 1996 sophomore album Bringing Down the Horse yielded the song “One Headlight,” which earned the Wall owers a Grammy win for Best Rock Performance by a Duo or Group with Vocal.

Over the subsequent three decades, the Wall owers has been a revolving cast of amazing talent with Dylan at its sporadic core. Although the band was shuttered for a spell while Dylan explored a solo direction, he has noted in interviews that the Wall owers and his solo work are separated only by his sonic choices in the studio and the songs he brings to each project. e band, regardless of personnel, is re ective of his creative identity, he’s said.

Last year saw the release of the Wall owers’ seventh album, the much lauded Exit Wounds, but the tour joined the sad roll call of COVID postponements until 2022. e band’s full set list typically has featured a half-dozen songs from Exit Wounds; beyond that, it’s slanted heavily toward Bringing Down the Horse and its follow-up, 2000’s (Breach), with tracks from 2005’s Rebel, Sweetheart, a song from Dylan’s solo catalog and a couple of Tom Petty covers. e homage to Petty is not surprising, considering Mike Campbell is a former member of Tom Petty and the Heartbreakers and lled in on guitar during the Bringing Down the Horse sessions. e current touring version of the Wall owers is a stacked deck of familiar names, including longtime live guitarist Stanton Edward Adcock and three of Dylan’s studio compatriots from Exit Wounds: bassist Wijnand (“Whynot”) Jansveld, keyboardist Aaron Embry and drummer Mark Stepro. Rounding out the band is guitarist/pedal-and-lap steel master Ben Peeler, whose association with Dylan and the band goes back to 2002’s Red Letter Days. But, as Dylan has so de nitively pointed out, no matter who stands on the stage or in the studio, as long as he commands the space, it’s the Wall owers. e Wall owers play Ludlow Garage at 8 p.m. Aug. 23. Doors open at 7 p.m. ere are no COVID-19 protocols in place for the event. Info: ludlowgaragecincinnati.com. (Brian Baker)